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| Title: | 創作、工作與自我：論台灣獨立樂團的另類生涯
From Creative Work to Creative Self: The Alternative Career of Indie Bands in Taiwan |
| Authors: | 邱厚文
Chiu, Hou-Wen |
| Contributors: | 高國魁
Kao, Kuo-Kuei
邱厚文
Chiu, Hou-Wen |
| Keywords: | 獨立音樂
音樂場景
文化工作
另類生涯
新自由主義
indie band
music scene
cultural work
alternative career
neoliberalism |
| Date: | 2020 |
| Issue Date: | 2020-09-02 12:44:17 (UTC+8) |
| Abstract: | 2000年起，獨立樂團在台灣各地萌芽開花，至今已成為不容忽視的社會文化現象。然而，這群樂團人作為文化創作／工作者的樣貌和處境，至今仍有許多待解之處。因此，為更進一步理解台灣獨立樂團，本研究透過田野參與觀察和深度訪談的方式，接觸了四組共十位的獨立音樂人（及一位獨立樂迷），以嘗試回答下列提問：我們應該如何理解和評價台灣獨立樂團的生涯？更具體說，獨立樂團作為新興崛起的文化工作，是否體現了一種不同於資本主義邏輯的生活形式？
從獨立樂團的創作、工作和自我等三個層面切入考察，本研究最終獲得以下發現：首先，獨立音樂作品的誕生與流變，既仰賴自主創作者的主體能力，亦要求樂風傳統和聲音技術等客體力量的支持。在主客體既合作又牽制的互動中降臨的創新，一方面帶有工藝生產的色彩，另方面駁斥文化工業的觀點。其次，獨立音樂人的生涯一方面由強調長期堅持、穩定經營的「跑馬拉松」心態主導，另方面則深深扎根在真誠友誼編織而成的獨立音樂場景中。這使獨立樂團事業得以抵抗新自由主義佈下的「夢想」陷阱，並體現一種跨越資本主義的文化工作理想。最後，音樂與創作者／表演者自我之間存在多層次的關係，具體表現為自我的表達、成長與增強，並在獨立音樂場景的支持下，以及創作和演出的過程中，引發如同自戀和自信的正向情緒。在此，我們可以看見一種異於新自由主義的，也可說是凸顯互惠原則的自我－社會關係。
Indie bands in Taiwan have been bourgeoning and flourishing as a conspicuous social-cultural phenomenon since 2000. However, there remains many unresolved questions with regard to the profiles and situations of indie band players who are supposed to be cultural creators/workers. This thesis utilizes the methods of participant observation and in-depth interview to analyze four indie bands (ten instrumentalists) and an indie music fan for the purpose of a deeper understanding of indie bands in Taiwan. We seek to answer the following three research questions: How should we grasp and assess the career paths of Taiwanese indie bands? More specifically, as an emergent form of cultural work, do indie bands embody a form of life alternative to the capitalist logic?
By examining the aspects of creative work, career work, and the self, three research findings may be underlined in the study of indie bands. First all, the creation and transformation of indie musical works require not only subjective faculties of the autonomous creator, but also the support of objective forces such as different genre traditions and sound technologies. Musical innovation arrives at the collaborative and interlocking interactions between the subject and the object, demonstrating the characteristic of craft production whilst refuting the perspective of Culture Industry. Secondly, indie musicians have been pursuing their careers as a marathon. This lifestyle demands an insistent and endurable mentality of the longer term, and is deeply embedded within indie musical scenes made of authentic friendship. As a result, indie bands are able to resist the neoliberal trap of ‘realizing dreams’, and embody an ideal of cultural work beyond capitalist apparatuses.
Thirdly, a multilevel relationship exists between creators/performers’ selves and their music. Music itself forms a soundscape for musical selves to express, grow and amplify themselves; in the meantime, sustained by indie music scenes, positive emotions such as self-love and self-confidence could be triggered in the processes of musical creation and performance. Herein we would discover a principle of reciprocity from the relationship between musicians’ selves and their society which is foreign to neoliberalism. |
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| Description: | 碩士
國立政治大學
社會學系
105254010 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0105254010 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU202001566 |
| Appears in Collections: | [社會學系] 學位論文
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